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21 Draw Interior Sample 02
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ITS AWESOME TO BE IN THIS BOOK. THE LINE UP OF TALENT IS
UNBELIEVABLE!
W A R R E N L O U W
ITS AN HONOUR TO BE INVITED TO CONTRIBUTE TO A PROJECT LIKE THIS
WITH SO MANY FANTASTIC ARTISTS!
C H A M B A
IM SO HAPPY TO BE PART OF THIS PROJECT, WITH SO MANY FAMOUS
INDUSTRY ARTISTS!
E M I L I E D E C R O C K
VERY EXCITED ABOUT THIS BOOK. PACKED FULL OF AMAZING TALENT
AND ITS THE KIND OF BOOK I WANT ON MY BOOKSHELF!
L O O P Y D A V E
STEPHEN SILVER RANDY BISHOP ELSEVILLA ANDREI RIABOVITCHEVDAN SCHOENING EDDIE NUNEZ SHILIN ENRIQUE FERNANDEZLUIS GADEA NIKOLAS ILIC MIKE BUTKUS PEDRO DELGADO WOUTER TULP
LEARN FROM
100 FAMOUSARTISTS
STEVE RUDE ARIEL OLIVETTI LOISH LOOPY DAVE KIM JUNG GI REIQ GENZOMAN ALICE X. ZHANG TOM BANCROFT OTTO SCHMIDT PHOBS WARREN LOUW CHARLIE BOWATER GERARDO SANDOVAL AND MORE!
Published in Sweden, by 21D Sweden AB.
Go to our website to read about more exciting projects and deals.
www.21-draw.com
Copyright 2014, 21D Sweden AB.
All rights reserved. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying, recording, or by any
information storage and retrieval system, without permission in writing from the copyright
owner. This eBook is licensed for your personal enjoyment only. This eBook may not be
re-sold or transmitted in any form. The publisher reserves the right to remotely delete
or disable copies of this eBook that are shared without the permission of the publisher,
through the use of DRM. All enquiries should be made to the publisher.
Designed in the USA by BookWiseDesign.com
ISBN: Soft cover: 978-91-982277-1-0, Hard cover: 978-91-982277-2-7
This book was successfully funded through IndieGogo in May, 2014.
ADAM & EVE 10
ADVENTURER 14
ALIEN 16
ALIEN 18
ANTI HERO 20
BAD BOY 22
BEAR 24
BIKER (MALE) 26
BIKER (FEMALE) 28
BOND GIRL 30
BRYONIC HERO 32
BUM 34
BURLESQUE BIMBO 36
CAVEMAN 38
CAVEWOMAN 40
COP 42
CROC 44
CROC 46
CYBORG 48
DANCER 50
DEMON 52
DETECTIVE 54
DEVIL 56
DIVA 58
DRAGON 60
DRAGON 62
DUCK 64
DWARF 66
ELF 68
EVIL CLOWN 70
TUTORIAL: FAIRY 72
FARMERS 76
CHARACTER
FEMME FATALE 78
FIGHTER 82
FOX 84
GEISHA 86
GHOST 88
GIRL NEXT DOOR 90
TUTORIAL: GODDESS 92
GOTH GIRL 96
GRANDPA 98
HAG 100
TUTORIAL: HERCULES 102
HERO 106
TUTORIAL: HERO 108
TUTORIAL: HERO 112
HEROINE 116
HOOLIGAN 118
KAWAI TOKYO GIRL 120
KNIGHT 122
KUNG FU GIRL 124
MAD SCIENTIST 126
MAGICIAN 128
MARAUDER 130
MARTIAL ARTS MASTER 132
TUTORIAL: MEDUSSA 134
MERMAID 138
MISCHIEVOUS KID 140
MONK 142
MONSTER 144
MOUNTAIN MAN 146
NATIVE AMERICAN 148
NATIVE AMERICAN (FANTASY) 150
TUTORIAL: NINJA 152
OGRE 156
OUTLAW 158
TUTORIAL: PEASANT 160
PIRATE (FEMALE) 164
PIRATE (MALE) 166
PIXIE 168
PRIESTESS 170
PRINCESS 172
PUNK (FEMALE) 174
PUNK (MALE) 176
RABBIT 178
RELUCTANT HERO 180
ROAD GIRL 182
SALARY MAN 184
SAMURAI 186
SCHOOL DIVA 188
TUTORIAL: SLAYER & SIDEKICK 190
SOLDIER 194
SORCERESS 196
SPACE DETECTIVE 198
SPOILED CHILD 200
STORM TROOPER 202
SUPER VILLAIN 204
TUTORIAL: SURVIVALIST 206
SWAMP MONSTER 210
TARZAN 212
TEDDY BEAR 214
TOWN DRUNK 216
TRASHBOT 218
VAMPIRE 220
TUTORIAL: VIKING GIRL 222
VIKING 226
VILLAIN 228
VILLAIN 230
TUTORIAL: VILLAIN WWII 232
WARRIOR (FEMALE) 236
WRESTLER 238
TUTORIAL: ZOMBIE 240
A , B , CANDERSON, KENNETH 226ANTONIOU, SEB 26ARMENTARO, FLAVIANO 120
ATZE, DAVID 178BACH, KRISTIN 228BAILEY, RICHARD 36BANCROFT, TOM 38BARDIN, DAVE 108BASSOVA, CATHERINE 100BAYLIS, ANTHONY R. 194BILLS, MICHAEL 206BISHOP, RANDY 106BONALES, MIGUEL F. 18BORULKO, MIKHAIL 202BOWATER, CHARLIE 160BOWER, JEFFREY 46BRINCAT, CHRIS 230BUTKUS, MIKE 48, 168CAMBEROS, BEN 130CHAMBA 82CHAN, EMILY 84CHEN, WEN-XI 50
D , E , FDECROCK, EMILIE 30DE FILICI, LORENZO 132DELGADO, PEDRO 222
DOUBLELEAF 54EL GUNTO 58ELSEVILLA 174ETHERINGTON, LORENZO 218FALKENHAGEN, CHASE 40FIQUET, BEN 198
G , H , IGADEA, LUIS 80GI, KIM JUNG 76GOKUNOBAKA 158GREENE, SANFORD 190HAMILTON, GRACE A. 28HAN, QING QINNI 124HO, WEI 62ILIC, NIKOLAS 102
K , L , MKALLBERG, DOUG 212KERANEN, MATTHEW 210KIM, TED 142LARSEN, JESSE 180LEE, EIN 96LEONIE 32LI, BEN 186LIMAN, INGRID 170LOCHE, SIMON 164LOISH 138LOOI, REUBEN 214LOOPYDAVE 56LOUW, WARREN 116MAYR, MARIA F. 10MCSWEENEY, ROBBIE 122MEAGO 188MERGHART, JEFF 44MICELLI, ALESSANDRO 204MILLING, GINNY 118MORIARTY, MEREDITH 14MYERS, BRITTANY 172
ARTIST
N, O , PNAYRO 22NUNEZ, EDDIE 144OLIVETTI, ARIEL 156ORBE, ALEX 126ORGEIRA, DANIEL 10PHOBS 232PINEDA, ERIC 236PORTER, ROBERT 92
R , S , TREIQ 152REYNES, MATHIEU 90RIABOVITCHEV, ANDREI 20ROBINSON, BEREA 60RODRIGUEZ, KARLA 128ROSEL, DAVID 176RUDE, STEVE 112SANDOVAL, GERARDO 240SANTAMARIA, ANTONIO 150SCHMIDT, OTTO 134SCHOENING, DAN 88SHILIN 196SILVA, JOSE S. 52SILVER, STEPHEN 42SMITH, COREY 140STRAW, JL 98SULLIVAN, PAUL 238TABACK, JOSHUA 148TEMPLE, NATHAN 16TORRES, FRANCISCO RICO 166TREVINO, RAUL 182TUCHOLSKI, SEBASTIAN 34
TULP, WOUTER 220TUNJIC, MILENKO 72T-WEI 216
W, ZWAIND, PAT 146WATT, CALUM A. 184WHITING, KIRSTY 200WOLLY 24WOODS, BRANDY 86ZHANG, ALICE X. 78
821 DRAWTHIS PROJECT WAS STARTED WITH ONE QUESTION IN MIND: IS IT POSSIBLE TO MAKE ONE BOOK THAT SOLVES THE MAJORIT Y OF COMMON ART PROBLEMS?
In order to answer this question rst
we had to nd out what common art
problems were. About 6 months of
research, interviews and surveys led us
to the conclusion that people were most
interested in gure drawing, specically
dierent types of gures with dierent
shapes and characteristics. They were
also interested in how to capture the
movement of these gures as well as how
to draw faces and hands. Of course there
were other areas that were of interest, like
drawing landscapes for example, but it was
clear that art as it relates to peoples bodies
was an obvious common issue that a lot of
people were interested in. That is why we
decided to focus the book on the areas of
gure drawing, character design, action
poses and drawing hands and faces.
The next question we asked ourselves was
how we would present these areas to you,
the reader. What would be the teaching
method? Again, we asked other artists for
their opinion. Many of them mentioned
that one of the best ways to learn was
by imitating ones idols; simply copying
artworks by ones favorite artists. Others
believed that some supplementary text
was also necessary in order to deepen
knowledge, but that it is essentially the act
of drawing that makes a person improve.
In short, practice makes perfect.
Based on these discussions we decided
to present dierent types of characters,
action poses, faces and hands so that
readers like you could simply imitate high
quality references, helping to improve
your skills and develop your own style. We
felt that the best way you could do this
was by learning from a range of dierent
artists, which is why we selected 100 of
the worlds top animators, illustrators and
comic book artists to present over 1000
images for you to study.
However, we realized that imitation of the
images alone were not enough, and that
some instructional text and step-by-step
process drawings were also necessary. For
this reason we added detailed tutorials
where the artists explain the tools they use
9and how they go from an initial sketch to
a nal polished color image in their own
unique way. This will help you improve
your own style and technique, no matter if
you are a hobby artist or professional.
A positive consequence of having so many
dierent characters in one book is that
it meant the book also became a kind of
character design dictionary, where you can
look up a particular character if you are in
need of some inspiration. So for example, if
you want to improve your skills in drawing
the devil, a crocodile, a hero and so forth,
you simply refer to that particular page.
Alternatively, if you want to nd your
favorite artist, you simply nd them using
the artist content page.
The last and nal step in our book
development was to select the very best
artists for the project. Again, we did this
by simply asking artists who their favorite
artists were (except for themselves
obviously). If a particular name came up
again and again, we added them to the
book. We immediately knew that this
project was something that people were
getting excited about. We also realized very
quickly that it was very dicult to make this
book because, quite frankly, it costs a lot of
money to hire 100 famous artists.
Thats why we turned to crowd funding.
Over the course of May, 2014 this book was
funded by regular people and artists, and
not by some corporation or publishing
house. It was the most funded art project
ever on one of the biggest crowd funding
sites in the world, IndieGogo. The idea for
this book, the research, the contents, the
selection of artists, the marketing and the
funding were all done by thousands of
individuals, together, driven by one goal:
to make this book a reality. This is what
makes it so unique. We hope you enjoy it!
And, who knows, perhaps your images will
feature in the next project
21 DRAW.
IMPROVE YOUR OWN ST YLE AND TECHNIQUE, NO MAT TER IF YOU ARE A HOBBY ARTIST OR PROFESSIONAL.
10
A DA M & E V E DA NIEL ORGE IR A & M A RI A F. M AY R
11
30
BOND GIRL EMIL IE DECROCK
31
72
TUTORIAL
MIL ENKO T UN JIC :
TOOLS: I do my work fully digitally these days, using mostly Photoshop and a UX21 Cintiq.
1 ROUGH: I use a standard, pressure sensitive, round Photoshop brush and start my sketching. I make sure it is a thick brush (on A4 300 DPI canvas it would be about 2025 pixel brush), as I want to get just the general shapes and prevent myself from ddling with detail at this point. I attempt to do a mix of pleasant action lines and shapes and as I draw I compare them with the idea I had in my head when I started.
For some reason, I tend to create images that melt to one side, so often I end up with the features of the image being skewed to one side. To avoid that, I ip my image horizontally and that shows me my aws. I continue to ip my image back and forth as I am working on it.
73
MIL ENKO T UN JIC FA IRY
2 FIRST PASS CLEAN-UP: For this stage I add another layer on top of my rough, drop the transparency of the layer with the rough down to about 2530 percent and start my clean-up/improvement process. For this stage I use the same brush as before, dropping the size down to 710 pixels, depending on the amount of detail I am willing to infuse into the work. Here I add detail, work out the kinks and pretty much de ne my character. In my personal work, I would often call this line-work nal and even though it is still a little rough around the edges I consider it the one that captured what I wanted to do the most. I would often colour it from here.
74
FA IRY MIL ENKO T UN JIC
FA IRYMIL ENKO T UN JIC
3 CLEAN LINES: For nal line-work, I repeat the same process as in the previous step: Hide my rough, add another layer, drop the opacity of my rst pass line-work down to 2530 percent and clean it up once again, doing my best to keep my lines sharp, solid and to keep the ow of the original rst pass.
FA IRY MIL ENKO T UN JIC
75
4 COLOUR: I am partially colour-blind (just enough to screw up everything) so I always tend to stick with the basic colour pass. Even here, my process is pretty much the same as everyone elses work I add a layer underneath my line and put the basic colours for my character there, add a layer on top of that, set it to multiply, select my shadow colour and paint in shadows all the way through. I might add another layer for highlights, lock the transparency of my line-work layer and colour some lines (wings, stars and a portion of the wand), and that is pretty much it.